Gangsta RapBenjamin Zephaniah
Introduction
New Windmills titles are supported by a 15-lesson study scheme including medium- andshort-term lesson plans, and Student, Teacher and OHT resource sheets. These resources helpstudents to engage with the novel and assist in your planning for close study of a novel.
Each set of resources includes a series of self-contained lessons which can be used tosupplement your own teaching plans, or to provide extra support for specific teachingpoints. Each activity is individually mapped against the Framework and Assessmentobjectives. There are also guided reading and reading journal activities, plus suggestionsfor further study areas including speaking and listening, writing, reading and dramaactivities. If your students have enjoyed reading this novel, there are ideas for other New Windmills they may like to read for pleasure.
Resources for Gangsta Rap:Synopsis
Activate prior learning
Activity sheets
– Student sheets
– OHTs
– Teacher’s notes
Reading journal
– General reading journal
– Gangsta Rap reading journal prompts
Further study areas
Reading for pleasure
Activities by Alan Pearce and Mike Royston
The following pages can be downloaded and printed out as required. This material may be freely copied for institutional use. However, this material is
copyright and under no circumstances can copies be offered for sale. The publishers gratefully acknowledge permission to reproduce copyright material.
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Teacher’sSheet © Harcourt Education Limited, 2006
Synopsis
Ray is a fifteen-year-old who has lost interest in school and is frequently in trouble.Things are no better at home, as he argues with his younger sister and parents. Hisproblems seem to be escalating when he is permanently excluded from school, and hejoins his two previously excluded friends Prem and Tyrone wandering the streets. Thethree boys have their love of hip-hop music in common and have an apparentlyunrealistic dream of forming a hip-hop band of their own.
Opportunities are presented to the boys when they agree to attend a Social InclusionProject, where the curriculum is designed to meet their particular interests. With theirnatural talent, extreme focus, and the help of the owner of the local music shop, the boysform the Positive Negatives, produce their first CD and plan a national tour.
Unfortunately, as the band becomes more popular it is embroiled in gang warfare withanother London hip-hop band, the Western Alliance, which ultimately results in thedeath of Ray’s girlfriend. Ray obtains a pistol and plans to shoot the leader of theWestern Alliance. His plan is thwarted by Prem and Tyrone and the two bands suddenlyrealise that the violence between the two bands has been manipulated by a third party.The novel concludes when the owner of both bands’ record companies is arrested forstirring up the violence to increase record sales.
Activate prior learning
The novel is based on the violent underworld of rap music, and closely follows the reallife story of the rap artist Tupac Shakur. However, the novel espouses a philosophy ofpeace and friendship – the hip-hop way. Most students will know something about rapmusic and contemporary rap artists, but keying Tupac Shakur or rap artists into onlinenewspaper search engines reveals a number of newspaper reports on gang warfare,shootings, and corruption. It would be helpful to listen to some rap lyrics, although theteacher will need to screen this activity carefully as the language used in rap lyrics, andtheir subject matter, are often unsavoury.
1 Music questionnaire
Name: Date:
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What are your favouritekinds of music?
What are your leastfavourite kinds ofmusic?
What is special aboutthe music you mostenjoy?
2 Choices for research
Name: Date:
Using the Internet, research one of the styles of music and one of thesingers/songwriters listed below.
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Style of music
Rock’n’Roll
Punk
Reggae
Heavy Metal
Rap
Singer/Songwriter
Elvis Presley
Sid Vicious
Bob Marley
Kurt Cobain
Tupac Shakur
3 Five questions about Ray inChapters 1–5
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OHT © Harcourt Education Limited, 2006
In Chapter 2, Ray is taken by Mr Harrison to the headteacher, who permanently excludes him. Do you think MrHarrison and the head are justified in what they do?
2
In Chapter 5, the newspaper report says: ‘An excluded childis most likely to be a teenage boy’. Is this true, in yourexperience? If so, what do you think are the reasons for it?
5
Look at the way Ray speaks to his father and mother inChapters 1 and 3. What is your opinion of this?
1
In Chapter 3, Ray leaves home. Do you support his decisionto do so?
3
How does Ray speak to and treat the girls he meets in the parkin Chapter 4? What do you think the girls feel about this?
4
4 First impressions of Ray andhis relationships
Name: Date:
Use the table below to record your first impressions of Ray and his relationships.
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Ray at home with hisfamily
Ray at school withclassmates & teachers
Ray out of school withfriends and otherteenagers
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OHT © Harcourt Education Limited, 2006
5 Ten qualities of a head teacher
● Someone who is a very strict disciplinarian
● Someone who knows the students by name
● Someone who can talk to students on their own level
● Someone of whom teaching staff are afraid
● Someone who is good at communicating with parents
● Someone who keeps up to date with modern music
● Someone who excludes students if they break school rules
● Someone who dresses casually
● Someone who is lenient about lapses in behaviour
● Someone who personally follows up any major
problems with students
What kind of head teacher isMr Lang?
Name: Date:
Write down your opinions of Mr Lang in the spider diagram below.
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Tough anddecisive: he excludes the
boys because ‘All three ofyou have broken almostevery rule in the book’
(p. 54)
Mr Lang
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Analysis of The Mix Mag musicreview
Name: Date:
Complete the table below with at least two more entries in each column.
Facts
The album is calledCollective Security
Opinions
The recording is of avery high quality: ‘theproduction is polishedto perfection’
Emotive language/Exaggeration and its effects
‘… it seems as if thewhole world hasagreed’. This impliesthat absolutelyeveryone has heardthe album and thinksit’s outstanding
8 Positivity Assessment Report(opening section)
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OHT © Harcourt Education Limited, 2006
Ray joined the Positivity
Social Inclusion
Project after being
permanently excluded from
his mainstream school. He
had a history of short-term
exclusions, and his head
teacher, Mr Lang, felt there
was no alternative to
removing him from the
school for the sake of other
students and several of his
teachers. Ray was
frequently abusive and on
several occasions had
become physically violent.
His attitude to school
attendance and to study was
also very negative. For
example, he regularly
disrupted classes and
rarely, if ever, produced
homework. In summary,
Mr Lang reported that Ray
had ‘broken every rule in
the book’.
When he first came to the
Positivity special unit,
Ray …
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Resident’s complaints chart
Name: Date:
Use the prompts below to prepare a class role-play.
I dislike rap music because …
I dislike pop music concerts and ‘gigs’ because ...
I dislike young people going round in gangs because …
I object to the way young people speak nowadays because …
I object to pop singers and ‘rappers’ earning a lot of money because …
‘And another thing…’ (add further complaints below)
10 Character-gram for Yinka
Name: Date:
Complete the character-gram for Yinka using evidence from Chapters 17 and 18.
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Has an infectious sense of humour
(see page 159)
Thinks deeply aboutsocial issues
(see page 155)
Yinka
11 The story of Positive Negatives
Name: Date:
Put yourself in the role of a member of Positive Negatives. Use the table below to recordthe things that happened to you while you were in the band.
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Positives
forming the band allowed us to finda purpose in life after we wereexcluded from school
Negatives
being in the band led us into a lot ofviolence, especially in our battle withthe Western Alliance
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Two passages about hip-hopmusic
Name: Date:
Summarise the points made by Ray and Marga Man in the extracts below.
Passage 1: Ray (page 169)
‘… you say the soldier is defending the country even thoughhe might be fighting thousands of miles away. But look at us,we are here, walking the streets where we live and when wedefend ourselves we’re called violent. Watch us as we circulatefrom day to day. When we meet and greet we say peace,because hip-hop is about peace, we keep saying peacebecause we want to live in peace. But hip-hop is also aboutdefending the self, it’s not about invading other people’s land,it is not about being a hero, it is simply about self-preservation,the right to defend one’s self, you know what I’m saying?’
Passage 2: Marga Man (pages 218–19)
‘Hip-hop comes from de angry streets, it goes into de recordingstudio, and den it goes back on de streets. It is created by realpeople for real people, without de people dis music meansnothing. Dis is de music dat record companies can’t controlbecause it is de music of de soul, dis music is hated bypoliticians because dis music is powerful but it seeks no vote.De media people hate di music because it is not created fortelevision programmes and it is not created by men in suits.Lately yu may have heard de media people talking whole heapa nonsense about hip-hop …
… de music yu are about to hear is about unity, unity of allpeople against boredom and conformity. De music you areabout to hear is de music of resistance, de music you are aboutto hear may have come out of de East End but it is for depeople of de north, south, east and west.’
13 The Guns
Name: Date:
Annotate the poem below, highlighting any lines or phrases that can link to Gangsta Rap.
Notes
Those twisted irons that men have made
Bring murder to our streets,
And when the makers have been paid
They blame our hip-hop beats,
Their factories make bits of death
With much great legal cover,
And our poor parents hold their breath
As big youth kill each other.
Some die where they once danced with dreams
And great futures ahead,
Some live as they kill us it seems
And laugh when we are dead,
When men on top see weaknesses
Those men will push us further,
And they care not how bleak it is
They make money from murder.
We’re not faultless or innocent.
We have responsibilities,
We helped to make those guns present
To destroy our communities,
We must wake up and not be used
The death dance has to stop,
And when our beats are not abused
We’ll dance to true hip-hop.
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Teacher’sNotes
Teacher’s notes referred to in theshort-term lesson plans
Lesson 1
Group display presentations
The basic principle is that each group is responsible for assembling its own displaypresentation. You aren’t. Make clear that you will conduct a formal assessment ofeach presentation. Tell students in advance what your success criteria will be.
Allow a 60-minute lesson for collating and assembling the presentations and forother groups to read/see them.
Each group’s chairperson should liaise with you in advance about the materials theyneed: sugar paper, A4 sheets, adhesive, scissors, wall space, etc, plus whatever theybring in themselves.
If groups wish to get together to do some assembling before the nominated lesson,allow them to – as long as it is not in an English (or other!) lesson. Experiencesuggests that many will be keen to do this out of school or in lunch-breaks etc.
Lesson 2
Some methods of presenting the talk
A straightforward talk without visual material. Speakers should be free to seat theirgroup audience as they wish: this does make a difference.
A talk with visual aids that can be held up or attached to a flip-chart, the board etc.(Set a strict time limit for students who opt for this to ‘set up’, otherwise it goes onforever.)
A power-point presentation if the classroom has an interactive whiteboard. But selectyour students carefully!
NB There will be no time for playing any music, whatever method of presentation ischosen.
Rehearsing for the talk: good advice
Prepare index cards with key words or phrases on them: do not read from a pre-written ‘script’.
Speak more slowly than in normal conversation.
Vary your tone of voice (factual, jokey, serious etc.) to match what you are saying.Put emphasis on key words. Practise intonation.
Eye-contact with your audience is vital. Practise it at home: use a parent.
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Teacher’sNotes
Lesson 3
Suggested passages to illustrate Ray’s behaviour and attitudes
Chapter 1 argument with his father, from ‘“What the hell do you two think you aredoing?”’ (page 1) to ‘Ray left the room, … slamming the door behind him’(page 4).
Chapter 1 conflict with Mr Harrison and the headteacher, from ‘“So, Ray, I take it youknow all there is to know about the Roman Empire?”’ (page 4) to ‘Rayslammed the door behind him … and the headteacher jumped’ (page 6).
Chapter 4 Ray with the girls in the park, from ‘“This is it”, Ray shouted’ (page 40) to‘“You’re in trouble,” she said in a low voice as she passed Prem’ (page 42).
Chapter 4 Ray in custody at the police station, from ‘An hour had passed withoutanyone showing up’ (page 44) to the end of the chapter.
Lesson 4
Guided reading on a passage from Chapter 6 and a passage from Chapter 9
Chapter 6, from the top of page 54: ‘I want to drop the formality and just have a chat…’to the end of the page: ‘I promise you, I’ll do anything to help you, within reason.’
1 What reason does Mr Lang have for excluding the boys. Do you think this is fair?
2 How do Ray, Tyrone and Prem react to being told they are excluded? Do you admirethem for this?
3 What does Mr Lang say about the boys’ intelligence? Do you think he is right?
4 What tone of voice do you think Mr Lang uses when talking to the boys? What doesthis tell you about him?
5 When Mr Lang says he will do anything he can to help the boys, do you think hemeans it? Give a reason for what you think.
Chapter 9, from page 83: ‘”I told you it would be fine, but this is outstanding,” said MrLang’ to page 84: ‘“Tell me more,” Mr Lang said, turning his attention to the boys.’
1 Why is Mr Lang ‘thoroughly delighted’ with the boys? What does this tell you abouthim?
2 Are the boys pleased that Mr Lang congratulates them? How do they behave in adifferent way from when they were told they were excluded in Chapter 6?
3 Why does Mr Lang show an interest in the CD the boys have just recorded? Do youthink his interest is sincere?
4 What tone of voice do you think Mr Lang uses when talking to the boys? Do youthink it is genuine?
5 How does Mr Lang speak to Mrs Sharma? Do you think he understands why she isworried about Prem’s future?
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Teacher’sNotes
Lesson 5
Guided reading questions on two passages from Chapter 10
Passage 1 (pages 97–99)
1 Say what sounds are described in this passage. How do they help you ‘get inside’ theatmosphere of the gig?
2 Do you like the way Marga Man speaks? What kind of character do you think he is?
3 What does the writer tell you about the way the boys are feeling before they go onstage? Do you think this is realistic?
4 The writer says, ‘Without seeing the crowd, the boys could feel the excitement.’ Why could they, do you think?
5 Imagine you were in the band. What do you think it would be like when youstepped out onto the stage?
Passage 2 (pages 101–102)
1 The writer says ‘The boys … strutted up and down it [the stage]’. What does this tellyou about how they were feeling?
2 The writer says ‘Non-verbal communication took over’. What do you think thismeans? What does it tell you about how the boys were rapping?
3 How did the boys feel when they got back to the dressing room?
4 Imagine the scene outside the Rex after the gig. Say what you think it would be like.
5 Imagine the after-show party at Marga Man’s music shop. Say what you think itwould be like.
Lesson 8
Some characteristics of a ‘disgusted’ letter to a newspaper
The letter is likely to:
use emotive language (‘hooligans’, ‘thugs’, ‘layabouts’)
compare the state of things nowadays with the past, always favouring the latter (‘In my day …’, ‘Everything seems to have gone to pot since …’)
use some sarcasm
use rhetorical questions, which are often then answered (‘What’s going to happen if…? I’ll tell you what’s going to happen’)
use conditionals to begin sentences (‘If this is what things are coming to, heaven help …’)
over-use exclamation marks
use a strongly-worded opening and (in particular) closing sentence.
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Teacher’sNotes
Lesson 9
Guided reading questions on two passages about Yinka in Chapter 17
Passage 1, from page 153: ‘They walked down the road towards Stratford’ to page 155:‘Yinka shook her head.’
1 What do you find out about Yinka’s family background?
2 What does Yinka think about Collective Security, the band’s first album?
3 Yinka tells Ray, ‘breaking things is not that difficult’. What criticism of the band’smusic is she making?
4 How do you know from this passage that Yinka thinks deeply about things?
5 At the end of this passage, what does Yinka tell Ray she believes in? Do you admireher for her beliefs?
Passage 2, from page 155: ‘They walked for another half an hour’ to page 159: ‘Hey,forget the burger.’
1 The writer says ‘Ray became captivated by her [Yinka’s] mind.’ Why do you thinkRay felt like this?
2 What does Yinka tell Ray about her father’s business troubles? What has this helpedher decide to do with her life?
3 Ray wants to sleep with Yinka on their first date. How does she react to this? Do yourespect her for it?
4 What evidence can you find that Yinka is a warm person with a good sense of humour?
5 Sum up your feelings about Yinka. Ray likes her a lot. Do you?
Lesson 10
Checklist of some characteristics of journalistic writing
Draw students’ attention to these five features:
Headlines Look at how they make a strong impression on the reader:Dynamic verbs? Word-play? Alliteration? Bias? Provocativelanguage?
First paragraphs Look at how they incorporate answers to the ‘wh’ questions:Brevity? Conciseness? ‘The heart of the matter’? Factuallyorientated? Use of proper nouns?
Interviews Look at how they add detail and human interest to thestory: The power of direct speech? Edited version of whatinterviewees said to suit the story’s angle? Emotivelanguage? Two interviewees set against each other torepresent opposing viewpoints? The ‘aaah’ factor?
Language Look for: exaggeration, emotiveness, opinion presented asfact, strong use of adjectives/adverbs, short sentences
Presentational devices Look for: Photo-sensationalism? Aggressive typography?Function of sub-heads? Juxtaposition of visuals with printedtext? Misleading captions to photographs?
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Reading journal
This reading journal is designed to help you record your thoughts about thebook you are reading. It is not intended to include only polished pieces ofwriting, but rather a collection of your developing responses to a text. To becomea better reader, it helps to write an entry at the end of each reading session inclass or at home, noting:
the strategies you have been using as you read, e.g. reading backwards andforwards, skimming, inferring
your responses to what happens/what characters do and say, and ask whatthe writer has done to make you feel this way
the questions in your mind as you read, e.g. what you are wondering aboutat the moment
the themes and patterns that you notice in the plot or the language used
similarities and connections to other books you have read
parts of the book (words, lines) that you have enjoyed
how what happens in the book relates to your own experiences and feelings.
The notes you make will be useful to look back on, especially before writingabout the book. For example, it will show how the author has made a characterchange and affected your feelings about him/her as the book progresses.
Before starting to read …
Ask yourself:
What can I tell about the book from its front cover and the blurb on the back cover?
Have I read any other books by this writer? What were they about?
It is often useful to make a very brief timeline like the one below to track themain events, changes in narrator, scenes and characters. When you write aboutthe book in the future, this time-chart will remind you where things that happenare described.
While reading …
Ask yourself:
What does the opening tell me about the themes and ideas, characters andsetting of the book?
In what ways does the writer grab my attention?
How many points of view on events am I given?
What would I like to ask the author if I met him/her?
Beginningof book
End ofbook
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Reading journal (continued)
Name:
Year:
Text title: Text type:
Author:
Date started: Date finished:
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As soon as you have finished reading a book …
Ask yourself:
Can I sum up the main idea of the text in three sentences?
Which characters have changed and why? Which have stayed the same?
Who would I recommend this book to and why?
Award a book rating (between 1 and 5 stars, where ★ = poor and ★★★★★ = excellent).
Write a review below summarising your thoughts about the book.
Reading journal (continued)14
15 Gangsta Rap reading journalprompts
Chapters 1–3
After reading the first two chapters, write down four questions you hope will beanswered by the end of the novel.
Make a list of five examples of modern teenage slang that appear in the first threechapters of Gangsta Rap.
Start adding your own thoughts to these mind maps. Develop the mind maps asyou read on with the novel. By the end of the novel these maps will record whatyou know about the two characters, and how you have responded to them.
Chapters 4–6
Summarise the attitude Ray and his friends have towards girls. How do you feel abouttheir attitude?
Chapter 7
Mr Lang said that when the boys started at The Positivity Centre their lessons would beadapted to their own interests. Give some examples of how their lessons were adaptedto their interests.
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Relationship with
Relationship with his parents
Ray
Attitude to school
The help he gave the boys.
How he coped with pressure.
Marga man
His relationship with Rayand Ray’s friends.
15 Gangsta Rap reading journalprompts (continued)
Chapter 8
What do we learn about Ray’s personality from his behaviour during the meeting withthe record company?
Chapter 9
The three boys’ mothers were unhappy about the boys forming a rap band. Make a listof the things that are said by the boys and Marga man to make each of the mothershappy.
Chapter 10
Make a few notes about your impressions of the lyrics of Positive Negatives’ War Cry.For example, can you answer the following questions?
Does the rap have a rhyming scheme?
Do all of the lines have the same number of syllables?
What examples of informal language are there?
What teen slang is used?
What issues does the band mention in this rap?
Chapter 12
The band members and Marga Man have been receiving unusual telephone calls. Makesome predictions now:
Who might be making the telephone calls?
Why are these threatening telephone calls being made?
What do you think will happen because of the telephone calls?
Chapters 13–15
See if you can answer the following questions:
1 What was the name of the West London youth who was shot?
2 Outside what nightclub did the murder take place?
3 What happened to Marga Man’s shop?
4 What big suggestion did Skelly have for Positive Negatives?
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15 Gangsta Rap reading journalprompts (continued)
Chapter 17
Yinka and Ray have a very interesting conversation. Make a list of four interestingthings that Yinka says.
Add Yinka to Ray’s mind map that you started after reading the first three chaptersof Gangsta Rap.
Chapter 18
At the press conference Positive Negatives are asked a number of questions about hip-hop and rap. In about eighty words see if you can summarise what hip-hop is.
Chapter 21
All the way through the novel Ray has said that he lives his life by the hip-hopphilosophy. So, why is his behaviour in this chapter particularly unusual? Why do youthink Ray chose to respond to his problems in this way?
Chapter 22
In Chapter 22 four newspapers write about Positive Negatives. Make a list of the fournewspapers and what each newspaper says about the band. In the final column of thetable say whether you think each newspaper has been fair in its reporting.
Chapters 23 and 24
How do you think the members of Positive Negatives might have felt when theyheard that Reel Steel had been arrested for having a firearm?
Where was the gig mentioned in Chapter 24 to be held?
Why did Ray want to cancel the gig?
How did Dragon and the rest of the Western Alliance manage to get backstageafter the gig?
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Newspaper What the newspapersaid
Do you think thenewspaper was fair?
15 Gangsta Rap reading journalprompts (continued)
Chapter 25
At what stage in Chapter 25 did you work out what had been happening toPositive Negatives and the Western Alliance?
What happened to Sam in Chapter 25?
What was the name of the owner of the telephone that had been used to make allof the telephone calls to the Western Alliance and Positive Negatives?
Chapter 26
In one paragraph, explain what had been happening to the Western Alliance andPositive Negatives, who had been involved, and why it had been happening.
Whole Novel
Write a brief review of Gangsta Rap that could be placed in a school magazine. In yourreview say whether you think this is a good book for teenagers to read. Mention whatyou think are the strengths of the novel.
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Teacher’sNotes
Further study areas
The following activities provide opportunities for creating interesting and stimulatingactivities.
Writing to imagine, explore and entertain: Imagine Ray’s life five or ten years after theend of the book. He may or may not be a rap star. Describe ‘A Day in the Life of Ray’.(Writing to imagine: Yr7 Wr6; Yr8 Wr7; Yr9 Wr5)
Drama-focused Speaking & Listening: Marga Man goes to see Sinclair, ‘The Messenger’,while he is awaiting trial. Act out their meeting.(Drama: Yr7 S&L16; Yr8 S&L15; Yr9 S&L12)
Independent research/information writing: Research the extent of street crime andviolence in your area. You can get a snapshot of this by reading the local newspaper for aweek. The police and neighbourhood watch groups are normally willing to supply someinformation. Produce an information leaflet based on your findings for distribution in thecommunity.(Writing to inform: Yr7 R5, Wr11; Yr8 R1, Wr10; Yr9 R2, Wr9)
Author’s craft: Write down five questions you would like to put to Benjamin Zephaniahabout why he wrote Gangsta Rap and the way he chose to tell the story. Either: (a) inventhis replies to your questions Or: (b) visit his website and post your questions there.Expect a reply.(Author’s craft: Yr7 R15; Yr8 R10; Yr9 R18)
Group discussion: Imagine that a major film company is keen to make a big-budget filmof Gangsta Rap, to go on general release in cinemas throughout the country. Give youropinion about whether it would make good ‘box office’ or not.(Group discussion: Yr7 S&L1; Yr8 S&L10; Yr9 S&L9)
Reading for pleasure
This contemporary novel is about teenagers trying to succeed in tough circumstances:exclusion from school, difficult family relationships and violence. If students haveenjoyed reading this novel, they may also enjoy Face by Benjamin Zephaniah, anothergritty portrayal of life for a teenager dealing with prejudice, drugs and disfigurement;and Refugee Boy by Benjamin Zephaniah, the story of a young asylum seeker in England.They may also enjoy Heathrow Nights by Jan Mark, which deals with the themes of familyrelationships and getting into trouble at school.
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Teacher’sNotes © Harcourt Education Limited, 2006
Gangsta Rap by Benjamin Zephaniah Lesson 1 60 minutes
Class: Date: Period:
Lesson coverage: Students’ own knowledge of contemporary musicLesson aims: 1 To describe and explain personal likes and dislikes
2 To present information in a clear, attractive way to their peers3 To work cooperatively in a group, contributing to discussion and
planning
Prior learning/ Previous experience of justifying personal opinionsknowledge: Familiarity with conventions of answering a questionnaire
Book activity: Preparation: Activity 1 – Conducting a group survey of students’ tastesin music and presenting the results imaginatively
Framework Objectives: Assessment Foci:Year 7: S&L1, S&L10, Wr11, Wr18 Wr2, Wr3Year 8: S&L1, S&L11, Wr1, Wr10Year 9: S&L1, S&L5, Wr4, Wr12
Starter: (10 minutes) Brainstorm with the class their favourite music albums,singers and styles. Write these on the board. As yet, allow no discussion.Explain that the aim is to get a snapshot of the class’s musical tastes.
Introduction: (15 minutes) Distribute Student Sheet 1 – a personal questionnaire onwhich students will (i) record their likes and dislikes (ii) explain their‘likes’. Emphasise that ‘Explain’ – column 3 of the questionnaire – isimportant. It asks students to consider how certain styles of music areassociated with particular kinds of dress, attitudes, behaviour and soon, e.g. grunge, rap, punk.
Then have them fill in their questionnaires individually and in silence:swapping opinions and explanations comes later.
Development: (30 minutes) Divide the class into small groups. For 15 minutes,encourage ‘open’ group discussion based on the questionnaire,especially column 3. Reiterate the need to explain opinions carefully,and to listen attentively to others’ explanations.
Begin the next 15 minutes by setting each group the same task: to presenttheir group’s likes and dislikes along with reasons and explanations, forother groups to read. This will be mostly done for homework, so decisionsmust be made now about: (i) method and style of presentation (ii) use ofgraphs, charts, photographic cut-outs, etc. (iii) use of ICT for part or allof the presentation. A chairperson should lead the planning and ensurethat everyone is clear about the contribution they will make. This includesa short written piece from everyone, justifying their personal preferences.
Plenary: (5 minutes) Groups should double-check what each member willproduce before the lesson you nominate for collating/assembling/displaying their presentations. (It is best to pick a lesson about a weekahead: advice on this can be found in the Teacher’s Notes, page 16).
Homework/ Students complete their contribution as far as possible by themselves.Follow-on:
Resources required: Student Sheet 1, Teacher’s Notes page 16
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Gangsta Rap by Benjamin Zephaniah Lesson 2 60 minutes
Class: Date: Period:
Lesson coverage: Information drawn from the InternetLesson aims: 1 To use the Internet to locate and retrieve information
2 To select, collate and edit information on screen3 To prepare to deliver a short talk to a peer audience
Prior learning/ Experience of using an Internet search engineknowledge: Some experience of on-screen editing
Book activity: Preparation: Activity 2 – Researching information in preparation fordelivering a formal talk
Framework Objectives: Assessment Foci:Year 7: R1, R2, R5, Wr1 R2, R3, R7, Wr3Year 8: R1, R2, R4, Wr1Year 9: R1, R2, R4, Wr1
Note: This lesson depends on students having access to ICT facilities for the full 60 minutes.Starter: (20 minutes) Distribute Student Sheet 2 – a ‘Style of Music’ and
‘Singer/Songwriter’ list. This will be the focus for students’ use of theInternet to draw down information. Ask them to choose to research oneof the styles of music and one of the singers/songwriters listed. Theythen use a search engine to locate relevant information.
At this stage, tell them they need to select their information they will usefor the task you can now set: presenting a five-minute talk to others inthe class about either their chosen style of music or their chosensinger/songwriter. This will take place in a future lesson.
Introduction/ (30 minutes) Ask students to work individually on screen, using Development: appropriate strategies to select and collate the information they want:
highlighting, deleting, merging, cutting and pasting, etc. Keepemphasising that the information is for a five-minute talk. Manystudents will want to preserve too much of what they have found. Theyneed to be ruthless editors! Support any students who find this difficult.
At the end of this stage, students print out their edited information.
Plenary: (10 minutes) Nominate a specific lesson, probably about a week ahead,for students to present their talks. Explain that they will present to asmall group, not to the whole class. Briefly outline the methods they canchoose – see the Teacher’s Notes, page 16. End by setting the homeworkbelow.
Homework/ Students plan their talk by organising and ordering information from Follow-on: their print-out. They also need to rehearse at home before the
nominated lesson. Advice for doing so can be found in the Teacher’sNotes, page 16.
Resources required: Student Sheet 2, Teacher’s Notes page 16
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Gangsta Rap by Benjamin Zephaniah Lesson 3 60 minutes
Class: Date: Period:
Lesson coverage: Chapters 1–5Lesson aims: 1 To identify key character traits of Ray
2 To appreciate some of the ways the writer presents a central character to us
3 To write a text-based account of Ray’s character / behaviour and formulate a personal view of him
Prior learning/ Pre-reading of Chapters 1–5knowledge: Some understanding that a ‘character’ is a construct of the writer’s
imagination rather than a ‘real’ person
Book activity: Exploration: Activity 1 – Describing and commenting on the way Ray ispresented in Chapters 1–5.
Framework Objectives: Assessment Foci:Year 7: S&L1, S&L5, R12, R16, Wr18, Wr19 R3, R6, Wr3Year 8: S&L1, S&L7, R4, R5, Wr16, Wr17Year 9: S&L2, S&L5, R5, R11, Wr9, Wr17
Starter: (15 minutes) Display OHT 3 on an OHP – five questions for the wholeclass about Ray as he is presented in Chapters 1–5. These questions arenot descriptive: they are designed to elicit students’ opinions about theway Ray behaves. Make this clear, then take responses from the class.Encourage alternative points of view. End by asking students whetheror not they find Ray an attractive figure, and why.
Introduction: (25 minutes) Divide the class into small groups. Distribute StudentSheet 4 – ‘First impressions of Ray and his relationships’. Ask studentsto use the three headings on the sheet to discuss, and then make bullet-point notes about, their impressions of Ray. It will help to focus theirdiscussion if you direct them to three events in which he plays a centralpart. Suggested choices can be found in the Teacher’s Notes, page 17.As they make entries on their sheets, all students should add pagereferences to illustrate their ideas.
Development: (15 minutes) Ask students in whole-class discussion to share andcompare the impressions they have noted. Steer the discussion towardsthe way Benjamin Zephaniah has chosen to present Ray to us. Make thepoint strongly that he does not exist in ‘real life’: the writer shapes thereader’s response to a character he has invented for a particular purpose.End by asking students what they think this purpose might be.
Plenary: (5 minutes) Use this to set up the homework below. Emphasise that, asin the lesson, the focus will be on (i) how the writer shapes ourresponse (ii) the personal view that students have formed of Ray.
Homework/ Ask students to: Write an account of Ray’s character and behaviour as Follow-on: Benjamin Zephaniah presents them in Chapters 1–5. Say what view of
Ray you think the writer wants us to take. Back up your opinions withspecific reference to the text, including some quotation.
Resources required: OHT 3, Teacher’s Notes page 17
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Gangsta Rap by Benjamin Zephaniah Lesson 4 60 minutes
Class: Date: Period:
Lesson coverage: Chapters 6 and 9Lesson aims: 1 To exchange opinions with others, justifying them with reasoned
argument 2 To reach a balanced personal view about a complex character3 To write a discursive essay reviewing both sides of a question
Prior learning/ Pre-reading of Chapters 6 and 9knowledge: Some experience of arguing a case both in discussion and in writing
Book activity: Exploration: Activity 2 – Formulating a personal view of Mr Lang, theboys’ head teacher, based on Chapters 6 and 9
Framework Objectives: Assessment Foci:Year 7: S&L1, S&L5, R6, R12, Wr2, Wr19 R1, R2, Wr3, Wr4Year 8: S&L10, S&L11, R3, R5, Wr3, Wr16Year 9: S&L5, S&L7, R6, R11, Wr1, Wr6
Starter: (15 minutes) Display OHT 5 on an OHP – a list of ten qualities studentsmight expect to find in a head teacher. Work briskly through the list.Ask students to grade each quality as follows: 1 = an excellent quality2 = necessary, perhaps, but not an attractive quality3 = a quality no head teacher should have. End by asking students to apply the completed/graded list to Mr Langin Chapters 6 and 9. How does he rate as a head teacher?
Introduction: (20 minutes) In pairs, ask students to scan Chapters 6 and 9 and makebrief notes about (i) why Mr Lang excludes the three boys from his schoolin Chapter 6 (ii) his plan to move them elsewhere and his reasons fordoing so in Chapter 6 (iii) his attitude towards their plans for the futurein Chapter 9. Students will use these notes during the Development stage.
Development: (20 minutes) Divide the class into small groups. Distribute StudentSheet 6 – a spider diagram for students to record their impressions ofwhat kind of head teacher Mr Lang is. The groups have to fill it in,adding page references to illustrate what they decide. Support groupswho find difficulty in locating relevant material and reaching decisionsbased on it. Two passages for guided reading, together with promptquestions, can be found in the Teacher’s Notes, page 17.
Plenary: (5 minutes) Use this to set up the homework below. Emphasise that thetask requires students to (i) put forward a personal opinion, which maydiffer from that expressed by others during this lesson (ii) use quotationfrom the text to explain and justify the opinion they have reached.
Homework/ Ask students to consider this comment about Mr Lang from one Follow-on: teenage reader of Gangsta Rap: ‘He’s just bothered about getting three
trouble-makers out of his precious school. He doesn’t care about themas individuals – he’s only pretending to.’ For homework students writea discursive essay saying how far they agree with this judgement. Theyshould use precise text reference and some quotation to help them do so.
Resources required: OHT 5, Student Sheet 6, Teacher’s Notes page 17
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Gangsta Rap by Benjamin Zephaniah Lesson 5 60 minutes
Class: Date: Period:
Lesson coverage: Chapter 10Lesson aims: 1 To analyse the descriptive qualities of two passages from Chapter 10
2 To examine the writer’s use of paragraph forms and sentence structures to engage the reader
3 To write to describe in a recreative/empathetic way
Prior learning/ Pre-reading of Chapter 10knowledge: Previous experience of writing in role
Book activity: Exploration: Activity 3 – Writing in role a description of the band’s set‘live at the Rex’
Framework Objectives: Assessment Foci:Year 7: S&L5, R8, R12, Wr5, Wr6 R4, R5, Wr1, Wr5Year 8: S&L5, R4, R7, Wr5, Wr6Year 9: S&L2, R12, Wr5, Wr6
Starter: (20 minutes) As a class, share reading aloud the passage from Chapter10 beginning ‘When they arrived back at the Rex’ (page 97) down to‘Then the band began to rap, starting altogether on the chorus’ (page99). Without prompting them too much, ask students to comment onthe effectiveness of this passage as a piece of description: Fast pace?Language choice and imagery? Description intercut with direct speech?Use of rap vernacular? End by telling students the task to which thislesson leads: putting themselves in the place of one of the bandmembers and writing a personal account of playing at the Rex.
Introduction: (20 minutes) Divide the class into small groups. Direct them to thepassage in Chapter 10 beginning, ‘And so the beats continued…’ (page101) and ending ‘… everyone wanted to talk to the boys’ (page 102).They should consider, and make their own brief notes about, howBenjamin Zephaniah makes this episode exciting to read. Instruct themto look closely at (i) the way paragraphs begin (ii) the length ofparagraphs (iii) the variety of sentence structures (iv) the pace of thewhole passage. Bullet-point these success criteria on the board. Supportgroups who find difficulty in commenting on the structures of writing.A list of guided reading questions for weaker students can be found inthe Teacher’s Notes, page 18.
Development: (15 minutes) In whole-class discussion, take feedback from the groups.Hold the focus on the writer’s paragraph- and sentence-structures.Highlight the way this keeps the narrative moving briskly and preventsthe description from becoming monotonous/boring.
Plenary: (5 minutes) Set up the homework below. Emphasise that you will assessstudents’ work mainly on the basis of how well they carry into theirwriting what they have learned in this lesson.
Homework/ Students write an account of the set at the Rex from the viewpoint of Follow-on: Ray, Tyrone or Prem. If they wish, they can do this in personal diary
form.
Resources required: Teacher’s Notes, page 18
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Gangsta Rap by Benjamin Zephaniah Lesson 6 60 minutes
Class: Date: Period:
Lesson coverage: Chapter 11Lesson aims: 1 To analyse the style and language of the music review in Chapter 11
2 To distinguish between (i) fact and opinion (ii) plain and emotive language in a media text
3 To write a personal review of a recent music album for a teenage audience
Prior learning/ Pre-reading of Chapter 11knowledge: Some familiarity with the conventions of printed media reviews
Book activity: Exploration: Activity 4 – Analysing the style and language of a musicreview and writing a personal review in a similar vein
Framework Objectives: Assessment Foci:Year 7: S&L1, S&L5, R7, R10, Wr18, Wr19 R3, R6, Wr2, Wr3Year 8: S&L10, S&L11, R6, R8, Wr13, Wr18Year 9: S&L1, S&L5, R4, R8, Wr7, Wr11
Starter: (15 minutes) As a class, students listen to you read aloud the review ofthe band’s first album in The Mix Mag. Ask them to discuss whether, onthe basis of this review, they would buy Collective Security. Encouragealternative viewpoints. Then widen the discussion to address thequestion: what makes a good review?
Introduction: (20 minutes) Divide the class into small groups. Distribute StudentSheet 7 – a chart for analysing the Mix Mag review with three columns,headed: ‘Facts’; ‘Opinions’; ‘Emotive language/Exaggeration and itseffects’. One entry has already been made in each column. Check thatstudents understand why. Then ask them in their groups to make atleast two more entries in each column. Work with groups who finddifficulty in (i) distinguishing between fact and opinion (ii)understanding the concept of emotive language.
Development: (20 minutes) In whole-class discussion, take feedback from the groups.Ensure that the ability to separate fact from opinion and recognise theeffects of emotive language is secure. Then steer discussion towards (i)the purposes of a music/film/book review (ii) why it is important tohave in mind a clear idea of audience when reviewing (iii) what theideal balance between fact and opinion might be in a review.
Plenary: (5 minutes) Use this to set up the homework below. Emphasise that inwriting it, students should draw substantially on the work they havedone in this lesson.
Homework/ Students write a review of their favourite album of the moment for a Follow-on: teenage music magazine. It should be about 150 words long.
Resources required: Student Sheet 7
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Gangsta Rap by Benjamin Zephaniah Lesson 7 60 minutes
Class: Date: Period:
Lesson coverage: Chapters 7–13Lesson aims: 1 To review the development of a character over time
2 To analyse the style and structure of a typical school/PRU assessment report
3 To write in role a formal report for an adult audience
Prior learning/ Pre-reading of Chapters 7–13knowledge: Some awareness of the notion of formality in writing
Book activity: Exploration: Activity 5 – Planning and writing an assessment reportfrom the Positivity Project
Framework Objectives: Assessment Foci:Year 7: S&L5, S&L12, R7, R13, Wr10, Wr12 R3, R5, Wr2, Wr5Year 8: S&L10, S&L11, R8, R10, Wr10, Wr17Year 9: S&L1, S&L7, R6, R11, Wr9, Wr15
Starter: (15 minutes) Brainstorm with the class (i) the reasons why Ray wastransferred from his school to Positivity (ii) how and why his attitude tolearning improved dramatically during his time there (iii) which peoplehelped him the most. End by asking students to compare Ray as he is atthe end of Chapter 13 with the way he was in Chapters 1–5.
Introduction: (20 minutes) Display OHT 8 on an OHP – the opening of an assessmentreport that might have been written about Ray before he left Positivity.Through shared reading, analyse the following aspects of its style andstructure: (i) how the topic of the opening paragraph is developed oversix sentences (ii) the report’s tone and register (iii) the report’s style andlanguage (iv) the use of cohesive devices. Emphasise that this is a formalpiece of writing. Encourage students to consider and define what‘formal’ means. Bullet-point on the board some key characteristics of‘formality’ in writing.
Development: (15 minutes) Set students their writing task, to be started now andcompleted for homework: to produce a four-paragraph assessmentreport for either Tyrone or Prem, written by Sam as they leave Positivity.List on the board the topics of these four paragraphs, which studentsshould copy: 1 Why Tyrone/Prem came to Positivity in the first place. 2 What progress they have made compared with their progress at
school.3 Why they have made progress. 4 What their future prospects are. Students then begin drafting their reports.
Plenary: (10 minutes) Ask the class to state four aspects of structure and stylethey will incorporate into the final version of their report. Make it clearthat these should be drawn from work done during this lesson.
Homework/ Using the persona of Sam, students write the Positivity assessment Follow-on: report for either Tyrone or Prem in an appropriately formal style.
Resources required: OHT 8
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Gangsta Rap by Benjamin Zephaniah Lesson 8 60 minutes
Class: Date: Period:
Lesson coverage: Chapter 16 and earlier parts of the book Lesson aims: 1 To use skim-reading and back-tracking to locate information from
the text for a particular purpose2 To participate in a class role-play, articulating clear opinions based
on parts of the text3 To write in role a letter to the editor of a newspaper
Prior learning/ Pre-reading of Chapter 16knowledge: Some experience of role-play
Book activity: Exploration: Activity 6 – Planning and writing a letter of complaintabout the band to a local newspaper
Framework Objectives: Assessment Foci:Year 7: S&L11, S&L17, R7, R10, Wr15, Wr16 R2, R5, Wr4, Wr7Year 8: S&L12, S&L14, R4, R5, Wr7, Wr13Year 9: S&L11, S&L12, R3, Wr13, Wr17
Starter: (15 minutes) Read aloud to the class the newspaper report thatcomprises Chapter 16. Brainstorm some of the ‘controversial’ things theband members have done in the course of the book so far. Ask studentswhy some older people, unsympathetic to rap culture, might beoutraged by their music, behaviour, attitudes, lifestyle, etc.
Introduction: (25 minutes) Organise a class role-play. All students will play the partsof Stratford and Newham residents who are strongly critical of PositiveNegatives and the bad publicity they have brought to the area. Theyhold a public meeting in Newham town hall to voice their complaints.
Students spend ten minutes preparing for this. To help them, distributeStudent Sheet 9 – a ‘complaints chart’ on which they list briefly pointsthey will raise at the public meeting. Ask them to work on this in pairs.
Then hold the class role-play. It should last 10–15 minutes. You shouldtake charge of the meeting and try to speak up for the PositiveNegatives’ right to lead the lifestyle they choose.
Development/ (20 minutes) Set students the written task to be started now and Plenary: finished for homework: writing a letter to the editor of The Newham Echo
from an older person prejudiced against the boys and their band.Material for this will be drawn from the role-play. It should begin byreferring to the newspaper report in Chapter 16.
Include in this stage brief coverage of the form and style of a typical‘disgusted’ letter to be found in newspaper correspondence columns. A checklist can be found in the Teacher’s Notes, page 18.
Homework/ In role as an angry resident, students write a letter to the editor of TheFollow-on: Newham Echo, criticising the boys. The letter should be strongly worded
but not abusive.
Resources required: Student Sheet 9, Teacher’s Notes page 18
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Gangsta Rap by Benjamin Zephaniah Lesson 9 60 minutes
Class: Date: Period:
Lesson coverage: Chapters 17 and 18Lesson aims: 1 To make diagrammatic notes for a pre-determined purpose
2 To rehearse the PEE method of character analysis3 To write an appreciation of character in the form of a newspaper
obituary
Prior learning/ Pre-reading of Chapters 17 and 18knowledge: Some experience of using the PEE method to profile a character in
fiction
Book activity: Exploration: Activity 7 – Writing a character profile of Yinka
Framework Objectives: Assessment Foci:Year 7: S&L1, S&L12, R12, Wr2, Wr10 R2, R6, Wr2, Wr7Year 8: S&L7, S&L10, R3, R4, Wr1, Wr16Year 9: S&L2, S&L5, R3, R6, Wr9, Wr16
Starter: (20 minutes) In pairs, ask students to discuss and jot down notes aboutthe impressions they have formed of Yinka’s character. Remind themthat ‘character’ means ‘personality’. Allow ten minutes for this, thentake feedback. Bullet-point a list of responses on the board.
Introduction: (25 minutes) Divide the class into small groups. Distribute StudentSheet 10 – a partly-completed character-gram for Yinka. The groups’task is to fill in the remaining four segments of this, together with pagereferences, to illustrate the points they agree on. Work with groups whofind difficulty in (i) distinguishing between what Yinka does/says andthe kind of personality she has (ii) locating textual evidence.Suggestions for group reading with weaker students can be found inthe Teacher’s Notes, page 19.
Development: (10 minutes) Briefly discuss with the class (i) why Ray is first attractedto Yinka (ii) how and why this attraction quickly turns to love (iii) howYinka makes a big difference to Ray’s behaviour and his attitudetowards the band’s music. Students should make brief notes on theirSheet during this discussion.
Plenary: (5 minutes) Set up the homework task below. Tell students they will bewriting in a formal style for an audience of adults.
Homework/ Students write an appreciation of Yinka’s character in the form of a Follow-on: newspaper obituary that will include brief details of her death. They
should write about 200 words.
Resources required: Student Sheet 10, Teacher’s Notes page 19
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Gangsta Rap by Benjamin Zephaniah Lesson 10 60 minutes
Class: Date: Period:
Lesson coverage: Chapter 18 and local newspaper reportsLesson aims: 1 To examine the structural and stylistic conventions of a ‘dramatic’
(but not tabloid) newspaper report2 To make diagrammatic notes for the purpose of planning3 To write a front-page story for a local newspaper
Prior learning/ Pre-reading of Chapter 18knowledge: Some familiarity with the conventions of journalistic writing
Book activity: Exploration: Activity 8 – Planning and writing a ‘dramatic’ newspaperreport about the street violence at Stratford Broadway referred to inChapter 18
Framework Objectives: Assessment Foci:Year 7: S&L1, R4, R8, Wr1, Wr10, Wr11 R4, R7, Wr1, Wr6Year 8: S&L7, R3, R6, Wr1, Wr2, Wr7Year 9: S&L6, R2, R3, Wr4, Wr9, Wr12
Starter: (20 minutes) Read with students one or two crime reports from a localnewspaper. Analyse and discuss their structural and stylisticconventions, e.g. use of (i) headlines (ii) first paragraphs (iii) interviews(iv) language (v) presentational devices. A checklist of key points aboutjournalistic writing can be found in the Teacher’s Notes, page 19.
Introduction/ (30 minutes) In pairs, students share reading aloud the passage in Development: Chapter 18, ‘Marga Man had hired a small hall near the music shop …’
(page 180) to the end of the chapter. They then make a flow-diagram toshow the order of events. Model for them what their flow-diagramcould look like, and explain why it is a useful note-making strategy forplanning the newspaper report they will go on to write.
After 15 minutes, take feedback from the pairs. Create a class flow-diagram on the board which comprehensively covers the main events itwill be necessary to include in the story.
Plenary: (10 minutes) Set the written homework task below. Emphasise that thenewspaper report should be dramatic but not written in an out-and-outtabloid style. Discuss: (i) possible headlines (ii) who to interview (iii)the ‘angle’ a local journalist might choose for the story (iv) the use ofpresentational devices.
Homework/ Students draft and write a front-page story for the Stratford Echo aboutFollow-on: the incidents at Stratford Broadway. This should include interviews
with two people who were involved. If possible, students shouldproduce their final version on computer, making full use ofpresentational devices.
Resources required: One or two photocopied examples of crime stories from a localnewspaper; Teacher’s Notes page 19
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Gangsta Rap by Benjamin Zephaniah Lesson 11 60 minutes
Class: Date: Period:
Lesson coverage: Chapter 10 pages 99–101, and Chapters 19–21Lesson aims: 1 To analyse the content, style and structure of a typical rap
2 To collect information about a character’s experiences by skimming and back-tracking through the text
3 To write and perform a rap
Prior learning/ Pre-reading of Chapters 19–21knowledge: Some familiarity with raps
Book activity: Exploration: Activity 9 – Analysing the conventions of the rap printedon pages 99–101 and writing a similar rap in role as Ray
Framework Objectives: Assessment Foci:Year 7: S&L16, S&L19, R14, R16, Wr8, Wr9 R5, R7, Wr1, Wr7Year 8: S&L6, S&L16, R5, R16, Wr6, Wr9Year 9: S&L11, R6, Wr6, Wr8
Starter: (20 minutes) Divide the class into small groups. They read and performthe Positive Negatives’ rap on pages 99–101 of Chapter 10. Instructgroups that they should (i) divide up the rap between them before theyperform it (three different individual contributions and a chorus) (ii)concentrate on establishing a strong, fast-moving rhythm during theirperformance.
Introduction: (20 minutes) In class discussion, consider first the content of the PositiveNegatives’ rap. What are its themes? What ‘messages’ does it convey?Students could compare its subject-matter with other raps they know.
Move the discussion on to the rap’s style and structure. How do therhythm and rhyme-scheme work to accentuate the themes? How doesthe language reflect the kind of world in which the band members live?
Development: (15 minutes) Ask students individually to put themselves in Ray’s placeat the end of Chapter 21. They should make brief notes on the events hehas been involved in during Chapters 19–21, e.g. the aftermath of thestreet violence at Stratford Broadway; his interrogation by the police inChapter 19; Yinka’s death; the decision of Yinka’s family to take herbody to Africa for burial.
Emphasise that Ray is full of strong feelings – grief, anger, bitterness,despair. Students should begin planning the rap we are told he writes inChapter 21, incorporating the deepest of these feelings.
Plenary: (5 minutes) Set up the homework below. Emphasise that this is a serioustask: rap is Ray’s poetry. Instruct students that they will perform theirrap to others in the class in a future lesson.
Homework/ Students write Ray’s rap.Follow-on:
Resources required: (optional) A recording of a contemporary rap to play during theIntroduction or Development stage
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Gangsta Rap by Benjamin Zephaniah Lesson 12 60 minutes
Class: Date: Period:
Lesson coverage: Chapters 25 and 26 and earlier parts of the storyLesson aims: 1 To read inferentially
2 To take part in a role-play (in pairs) and show empathy with an important character in the book
3 To write in role to inform, explain and persuade
Prior learning/ Pre-reading of Chapters 25 and 26knowledge: Experience of combining explanatory and persuasive writing
Book activity: Exploration: Activity 10 – Describing the part played in the story by‘The Messenger’ and judging the extent/seriousness of his crimes
Framework Objectives: Assessment Foci:Year 7: S&L15, S&L16, R8, R10, Wr15, Wr16 R3, R6, Wr3, Wr7Year 8: S&L14, S&L16, R6, R7, Wr2, Wr13Year 9: S&L11, S&L12, R1, R2, Wr1, Wr13
Starter: (15 minutes) Read aloud to the class the Channel Six news report aboutDuncan Sinclair, ‘The Messenger’, in Chapter 26. Ask students in pairsto compile a quick list of allegations against Sinclair. Take brief feedbackto establish class agreement about the crimes Sinclair stands accused of.
Introduction: (25 minutes) Divide the class into small groups. They should reviewSinclair’s role in the story under four headings, listed on the board:1 Exactly who is Sinclair and what is his background? (see Chapter
25, page 245)2 What has he been doing ‘behind the scenes’ throughout the book?3 Why has he been in a position to do this?4 Why does Detective Sergeant Horne describe him as ‘evil, depraved
and sinister’?Take feedback from the groups. Establish class agreement aboutSinclair’s criminal machinations and motives. What does the classconsider to be his most serious crime?
Development: (10 minutes) Students work in pairs. A role-plays Sinclair, B role-playsDet Sgt Horne. B interrogates A about how he has, allegedly, used therival rap bands to serve his own ends, i.e. to make a fortune. A has toadmit to some of the charges but defends/excuses himself againstothers. Remind the pairs before they begin that Sinclair is both cleverand devious. Then conduct the role-plays.
Plenary: (10 minutes) Ask all students to put themselves in Sinclair’s place as heawaits trial. He decides to write a ‘confession’ but in it to make as manyexcuses for what he has done as will stand up in court. Ask students toconsider: What will he say? Who will he try to pass the blame to? Whatview of the two rap bands will he put forward? End this question-and-answer session by setting the homework below.
Homework/ Students write Sinclair’s confession, using the first person. They should Follow-on: bear in mind that (i) he is an educated man who will present his ‘case’
plausibly (ii) he will lie about anything he thinks he can get away with.
Resources required: None
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Gangsta Rap by Benjamin Zephaniah Lesson 13 60 minutes
Class: Date: Period:
Lesson coverage: The whole novelLesson aims: 1 To relate the band’s name, Positive Negatives, to the main events
and themes of the novel2 To participate in a role-play (whole class), putting forward and
justifying opinions3 To write a formal literature essay, drawing specific evidence from
the text to support their points
Prior learning/ Reading the whole novelknowledge: Experience of the conventions of a literature essay
Book activity: Inspiration: Activity 1 – Using the band’s name to chart the ups anddowns of their story and writing a literature essay on this topic
Framework Objectives: Assessment Foci:Year 7: S&L12, S&L14, R4, R5, Wr11, Wr19 R2, R6, Wr3, Wr4, Wr6Year 8: S&L12, S&L14, R5, R10, Wr17, Wr18Year 9: S&L9, S&L12, R2, R5, Wr16, Wr17
Starter: (20 minutes) Put the class in role as members of Positive Negatives.Distribute Student Sheet 11 – a table on which they will record the‘positive’ and ‘negative’ things that happened to them while they werein the band. They should make three or four entries.
Divide the class into small groups to discuss and write points to beentered in the table. Support groups who find difficulty in (i) recallingclearly the events of the story (ii) distinguishing between the band’s‘up’ and ‘down’ times.
Introduction/ (30 minutes) Divide the class into two. One half represents the Positive Development: side of the band’s experiences; the other half represents the Negative.
Students use their completed tables and their knowledge of the wholebook to take part in a role-play discussion: ‘As band members, whatwere our best times, and why? What were our worst times, and why?’
Orchestrate the discussion so that representatives from each half of theclass speak in turn. Encourage them to go into detail; prompt them torecall events in the story fully rather than vaguely. Encourage everyonein the class to speak. This should be an informal discussion (though youwill need to control it with tactful firmness). Keep reminding studentsto remain in role as Ray, Tyrone and Prem.
Plenary: (10 minutes) Link the work of this lesson to the essay-writing taskstudents will do for homework. Instruct them to write the literatureessay in a conventional third-person style, in formal language. Theirtables can be used as an essay plan. End by setting the homework below.
Homework/ Students write a literature essay with the following title: Show how the Follow-on: band’s name, Positive Negatives, accurately reflects the ups and downs
of their story. On the whole, do you think their experiences are more‘positive’ than ‘negative’ or the other way round? Quote evidence fromthe text to back up the points you make.
Resources required: Student Sheet 11
Personal teaching notes:
Gangsta Rap
41
Teacher’sNotes © Harcourt Education Limited, 2006
Gangsta Rap by Benjamin Zephaniah Lesson 14 60 minutes
Class: Date: Period:
Lesson coverage: The whole novel, with the focus on a passage from Chapter 18 (page169) and a passage from Chapter 24 (pages 218–19)
Lesson aims: 1 To read intensively in order to deduce and summarise characters’ opinions
2 To arrive at a personal point of view through participating in discussion and argument
3 To relate events in the book to the realities of ‘teen culture’
Prior learning/ Reading the whole novelknowledge: Experience of finding personal relevance in literature
Book activity: Inspiration: Activity 2 – Considering claims made in the book for rapmusic as a force for good and formulating a personal opinion on thismatter
Framework Objectives: Assessment Foci:Year 7: S&L1, S&L12, R7, R9, Wr15, Wr16 R1, R6, R7, Wr3Year 8: S&L5, S&L16, R5, R7, Wr13, Wr14Year 9: S&L7, S&L9, R4, R6, Wr13, Wr14
Starter/ (30 minutes) Display OHT 12 on an OHP and distribute Student Sheet 12,Introduction: a copy of the OHT. They reproduce two passages from the book which
make strong claims for rap/hip-hop music as a force for good and a‘Philosophy’.
In pairs, ask students to spend 15 minutes summarising on paper (i)Ray’s claims for hip-hop (ii) Marga Man’s claims for hip-hop.
Then take feedback from the pairs. Spend a further 15 minutes compilinga class list of at least five separate points made by Ray and Marga Man.Write this – or have student volunteers write it – on the board.
Development: (20 minutes) Leave the class list displayed. Divide the class into smallgroups. They have a single task: to compare in discussion the claimsmade by Ray and Marga Man with the picture of rap culture presentedin the book as a whole. You may need to challenge students to questionwhether there are differences between the writer’s viewpoint and thatof his characters. Support the groups who most clearly need this kind ofintervention.
Plenary: (10 minutes) Chair a class summary of the group discussions. Askstudents who found a mismatch between the rhetoric of Ray/MargaMan and the book’s picture of rap culture to explain why. Invitestudents who reached an opposite conclusion to justify it. You mightend the lesson by expressing your own view.
Homework/ Students could develop the work done in this lesson to address the Follow-on: question: ‘Is contemporary music anything more than a form of
entertainment?’ If this option is taken, negotiate with students theapproach they want to take to exploring the topic.
Resources required: OHT 12, Student Sheet 12
Personal teaching notes:
Gangsta Rap
42
Teacher’sNotes © Harcourt Education Limited, 2006
Gangsta Rap by Benjamin Zephaniah Lesson 15 60 minutes
Class: Date: Period:
Lesson coverage: The whole novel and the poem on page 253Lesson aims: 1 To analyse the poem’s style and structure, particularly the writer’s
use of metaphor2 To relate the poem’s themes to the events, characters and ideas in
the book3 To write an account of the links between the poem and the book as
a whole
Prior learning/ Reading of whole novelknowledge: Experience of analysing style in poetry
Book activity: Inspiration: Activity 3 – Analysing ‘The Guns’ and relating its themes tothose of Gangsta Rap
Framework Objectives: Assessment Foci:Year 7: S&L12, S&L13, R7, R8, Wr18, Wr19 R4, R5, Wr3, Wr4Year 8: S&L10, S&L11, R5, R16, Wr17, Wr18Year 9: S&L2, S&L5, R6, R16, Wr16, Wr17
Starter: (20 minutes) Read aloud Benjamin Zephaniah’s poem, printed as anepilogue to the novel. Then distribute Student Sheet 13 – a copy of thepoem with space for note-taking in the right margin. Ask students inpairs to annotate the poem by highlighting any lines or phrases theycan link, in terms of events or themes, to Gangsta Rap. They shouldmake brief notes in the space provided, saying what these links are. Afew words will suffice for each annotation.
Introduction: (15 minutes) Take feedback from the pairs. How close are the linksbetween the poem and the novel? During this stage, clarify withstudents any parts of the poem they have found obscure/puzzling.
End by bullet-pointing on the board three or four of the clearest linksthe class agrees on. Students should make sure these are noted on theirSheets.
Development: (15 minutes) In whole-class discussion, turn the focus to BenjaminZephaniah’s use of metaphor in his poem. Discuss with the class (i) themeaning of the metaphors (ii) their effectiveness or otherwise.
Plenary: (10 minutes) End by asking the class to glance back at the PositiveNegatives’ rap on pages 99–101. How is it different in style, structureand effect from the poem? Which do students prefer: the poem or therap? Why?
Homework/ If this option is taken, students write an account of how the last four Follow-on: lines of ‘The Guns’ and Gangsta Rap as a whole convey a similar
message. They should use reference and quotation to support theirideas.
Resources required: Student Sheet 13
Personal teaching notes:
Gangsta Rap
43
Teacher’sNotes © Harcourt Education Limited, 2006
Lesson 4 Lesson 5+ Lesson 6Lesson 1 Lesson 2 Lesson 3+Med
ium
-ter
m s
tud
y p
lan
for
Gan
gsta
Rap
by
Ben
jam
in Z
eph
ania
h
Cov
erag
eO
bje
ctiv
es a
nd
les
son
ou
tcom
esA
sses
smen
t Fo
ciFr
amew
ork
Ob
ject
ives
Wee
k o
f st
ud
y: 1
Rea
din
g th
rou
gh t
he
nov
el: C
hapt
ers
1–7
Stud
ents
’ ow
nkn
owle
dge
of
cont
empo
rary
mus
ic
Info
rmat
ion
dra
wn
from
the
inte
rnet
Cha
pter
s 1–
5
Wr2
, Wr3
R2,
R3,
R7,
Wr3
R3,
R6,
Wr3
Year
7: S
&L
1, S
&L
10, W
r11,
Wr1
8Ye
ar 8
:S&
L1,
S&
L11
, Wr1
, Wr1
0Ye
ar 9
:S&
L1,
S&
L5,
Wr4
, Wr1
2
Year
7:R
1, R
2, R
5, W
r1Ye
ar 8
:R1,
R2,
R4,
Wr1
Year
9:R
1, R
2, R
4, W
r1
Year
7:S
&L
1, S
&L
5, R
12, R
16, W
r18,
Wr1
9Ye
ar 8
:S&
L1,
S&
L7,
R4,
R5,
Wr1
6, W
r17
Year
9:S
&L
2, S
&L
5, R
5, R
11, W
r9, W
r17
Cha
pter
s 6
and
9
Cha
pter
10
Cha
pter
11
exch
angi
ng o
pini
ons
in ta
lk, u
sing
rea
sone
d a
rgum
ents
achi
evin
g a
bala
nced
vie
w o
f a
com
plex
cha
ract
erw
riti
ng a
dis
curs
ive
essa
y re
view
ing
both
sid
es o
f a
ques
tion
anal
ysin
g th
e d
escr
ipti
ve q
ualit
ies
of tw
o pa
ssag
es
exam
inin
g th
e au
thor
’s u
se o
f pa
ragr
aph
form
s an
d s
ente
nce
stru
ctur
esw
riti
ng to
des
crib
e in
an
empa
thet
ic/
recr
eati
ve w
ay
anal
ysin
g th
e st
yle
and
lang
uage
of
a m
usic
rev
iew
dis
ting
uish
ing
fact
fro
m o
pini
on in
a m
edia
text
and
resp
ond
ing
to e
mot
ive
lang
uage
wri
ting
a r
evie
w o
f a
mus
ic a
lbum
for
a te
enag
e au
die
nce
R1,
R2,
Wr3
, Wr4
R4,
R5,
Wr1
, Wr5
R3,
R6,
Wr2
, Wr3
Year
7: S
&L
1, S
&L
5, R
6, R
12, W
r2, W
r19
Year
8:S
&L
10, S
&L
11, R
3, R
5, W
r3, W
r16
Year
9:S
&L
5, S
&L
7, R
6, R
11, W
r1, W
r6
Year
7:S
&L
5, R
8, R
12, W
r5, W
r6Ye
ar 8
:S&
L5,
R4,
R7,
Wr5
, Wr6
Year
9:S
&L
2, R
12, W
r5, W
r6
Year
7:S
&L
1, S
&L
5, R
7, R
10, W
r18,
Wr1
9Ye
ar 8
:S&
L10
, S&
L11
, R6,
R8,
Wr1
3, W
r18
Year
9:S
&L
1, S
&L
5, R
4, R
8, W
r7, W
r11
Wee
k o
f st
ud
y: 2
Rea
din
g th
rou
gh t
he
nov
el: C
hapt
ers
8–13
+ D
enot
es s
ugge
sted
wri
tten
hom
ewor
k w
here
this
is in
tegr
al to
the
lear
ning
ach
ieve
d in
the
less
on.
Oth
er h
omew
ork/
follo
w-o
n op
tion
s ar
e gi
ven
in th
e sh
ort-
term
less
on p
lans
to m
axim
ise
teac
her
choi
ce.
des
crib
ing
and
exp
lain
ing
pers
onal
like
s an
d d
islik
espr
esen
ting
wri
tten
and
vis
ual i
nfor
mat
ion
to a
n au
die
nce
ofpe
ers
wor
king
col
labo
rati
vely
in a
gro
up, c
ontr
ibut
ing
to d
iscu
ssio
nan
d p
lann
ing
usin
g th
e in
tern
et to
loca
te a
nd r
etri
eve
info
rmat
ion
sele
ctin
g, c
olla
ting
and
ed
itin
g in
form
atio
n on
scr
een
prep
arin
g to
del
iver
a s
hort
talk
to p
eers
iden
tify
ing
key
char
acte
r tr
aits
of
a m
ain
char
acte
ran
alys
ing
the
auth
or’s
pre
sent
atio
n of
cha
ract
erfo
rmul
atin
g a
pers
onal
vie
w o
f a
char
acte
r in
wri
ting
Gangsta Rap
44
Teacher’sNotes © Harcourt Education Limited, 2006
Lesson10+ Lesson 11 Lesson 12Lesson 7 Lesson 8+ Lesson 9+Med
ium
-ter
m s
tud
y p
lan
for
Gan
gsta
Rap
by
Ben
jam
in Z
eph
ania
h
Cov
erag
eO
bje
ctiv
es a
nd
les
son
ou
tcom
esA
sses
smen
t Fo
ciFr
amew
ork
Ob
ject
ives
Wee
k o
f st
ud
y: 3
Rea
din
g th
rou
gh t
he
nov
el: C
hapt
ers
14–2
0
Cha
pter
s 7–
13
Cha
pter
16
+ e
arlie
rpa
rts
of th
e bo
ok
Cha
pter
s 17
and
18
R3,
R5,
Wr2
, Wr5
R2,
R5,
W4,
W7
R2,
R6,
W2,
W7
Year
7: S
&L
5, S
&L
12, R
7, R
13, W
r10,
Wr1
2Ye
ar 8
: S&
L10
, S&
L11
, R8,
R10
, Wr1
0, W
r17
Year
9: S
&L
1, S
&L
7, R
6, R
11, W
r9, W
r15
Year
7: S
&L
11, S
&L
17, R
7, R
10, W
r15,
Wr1
6Ye
ar 8
: S&
L12
, S&
L14
, R4,
R5,
Wr7
, Wr1
3Ye
ar 9
: S&
L11
, S&
L12
, R3,
Wr1
3, W
r17
Year
7: S
&L
1, S
&L
12, R
12, W
r2, W
r10
Year
8: S
&L
7, S
&L
10, R
3, R
4, W
r1, W
r16
Year
9: S
&L
2, S
&L
5, R
3, R
6, W
r9, W
r16
Cha
pter
18
and
loca
l new
spap
erre
port
s
Cha
pter
s 19
–21
Cha
pter
s 25
and
26
exam
inin
g th
e co
nven
tion
s of
jour
nalis
tic
wri
ting
mak
ing
dia
gram
mat
ic n
otes
for
pla
nnin
gw
riti
ng a
fro
nt-p
age
new
spap
er s
tory
anal
ysin
g th
e co
nten
t and
sty
le o
f a
typi
cal r
apco
llect
ing
info
rmat
ion
by s
kim
min
g an
d b
ack
trac
king
thro
ugh
the
text
wri
ting
and
per
form
ing
a ra
p
read
ing
infe
rent
ially
empa
this
ing
wit
h a
char
acte
r th
roug
h ro
le p
lay
wri
ting
in r
ole
to in
form
, exp
lain
and
per
suad
e
R4,
R7,
Wr1
, Wr3
, Wr6
R5,
R7,
Wr1
, Wr7
R3,
R6,
Wr3
, Wr7
Year
7: S
&L
1, R
4, R
8, W
r1, W
r10,
Wr1
1Ye
ar 8
: S&
L7,
R3,
R6,
Wr1
, Wr2
, Wr7
Year
9: S
&L
6, R
2, R
3, W
r4, W
r9, W
r12
Year
7: S
&L
16, S
&L
19, R
14, R
16, W
r8, W
r9Ye
ar 8
: S&
L6,
S&
L16
, R5,
R16
, Wr6
, Wr9
Year
9: S
&L
11, R
6, W
r6, W
r8
Year
7: S
&L
15, S
&L
16, R
8, R
10, W
r15,
Wr1
6Ye
ar 8
: S&
L14
, S&
L16
, R6,
R7,
Wr2
, Wr1
3Ye
ar 9
: S&
L11
, S&
L12
, R1,
R2,
Wr1
, Wr1
3
Wee
k o
f st
ud
y: 4
Rea
din
g th
rou
gh t
he
nov
el: C
hapt
ers
21–2
6
+ D
enot
es s
ugge
sted
wri
tten
hom
ewor
k w
here
this
is in
tegr
al to
the
lear
ning
ach
ieve
d in
the
less
on.
Oth
er h
omew
ork/
follo
w-o
n op
tion
s ar
e gi
ven
in th
e sh
ort-
term
less
on p
lans
to m
axim
ise
teac
her
choi
ce.
revi
ewin
g th
e d
evel
opm
ent o
f a
char
acte
r ov
er ti
me
anal
ysin
g th
e st
yle
and
lang
uage
of
an a
sses
smen
t rep
ort
wri
ting
in r
ole
a fo
rmal
rep
ort f
or a
n ad
ult a
udie
nce
loca
ting
info
rmat
ion
in a
text
by
skim
min
g an
d b
ack
trac
king
expr
essi
ng o
pini
ons
thro
ugh
part
icip
atin
g in
rol
e pl
ayw
riti
ng in
rol
e a
lett
er to
a n
ewsp
aper
mak
ing
dia
gram
mat
ic n
otes
for
a p
re-d
eter
min
ed p
urpo
seus
ing
the
PEE
met
hod
of
char
acte
r an
alys
isw
riti
ng a
n ap
prec
iati
on o
f a
char
acte
r in
the
form
of
ane
wsp
aper
obi
tuar
y
Gangsta Rap
45
Teacher’sNotes © Harcourt Education Limited, 2006
Lesson 14 Lesson 15Med
ium
-ter
m s
tud
y p
lan
for
Gan
gsta
Rap
by
Ben
jam
in Z
eph
ania
h
Cov
erag
eO
bje
ctiv
es a
nd
les
son
ou
tcom
esA
sses
smen
t Fo
ciFr
amew
ork
Ob
ject
ives
Wee
k o
f st
ud
y: 5
Who
le n
ovel
Who
le n
ovel
Who
le n
ovel
revi
ewin
g th
e m
ajor
eve
nts
and
cha
ract
ers
in th
e no
vel
taki
ng p
art i
n w
hole
cla
ss r
ole
play
to r
efle
ct o
n th
e no
vel’s
them
esw
riti
ng a
for
mal
lite
ratu
re e
ssay
read
ing
inte
nsiv
ely
to d
educ
e an
d s
umm
aris
e ch
arac
ters
’op
inio
nsex
pres
sing
per
sona
l jud
gem
ents
thro
ugh
argu
men
t and
deb
ate
rela
ting
the
nove
l’s e
vent
s to
the
real
itie
s of
teen
cul
ture
anal
ysin
g a
poem
’s s
tyle
and
str
uctu
re, i
n pa
rtic
ular
met
apho
r re
lati
ng th
e po
em’s
them
es to
thos
e of
the
book
wri
ting
an
acco
unt o
f th
e th
emat
ic li
nks
betw
een
the
book
and
the
poem
R2,
R6,
Wr3
, Wr4
, Wr6
R1,
R6,
R7,
Wr3
R4,
R5,
Wr3
, Wr4
Year
7: S
&L
12, S
&L
14, R
4, R
5, W
r11,
Wr1
9Ye
ar 8
: S&
L12
, S&
L14
, R5,
R10
, Wr1
7, W
r18
Year
9: S
&L
9, S
&L
12, R
2, R
5, W
r16,
Wr1
7
Year
7: S
&L
1, S
&L
12, R
7, R
9, W
r15,
Wr1
6 Ye
ar 8
: S&
L5,
S&
L16
, R5,
R7,
Wr1
3, W
r14
Year
9: S
&L
7, S
&L
9, R
4, R
6, W
r13,
Wr1
4
Year
7: S
&L
12, S
&L
13, R
7, R
8, W
r18,
Wr1
9Ye
ar 8
: S&
L10
, S&
L11
, R5,
R16
, Wr1
7, W
r18
Year
9: S
&L
2, S
&L
5, R
6, R
16, W
r16,
Wr1
7
+ D
enot
es s
ugge
sted
wri
tten
hom
ewor
k w
here
this
is in
tegr
al to
the
lear
ning
ach
ieve
d in
the
less
on.
Oth
er h
omew
ork/
follo
w-o
n op
tion
s ar
e gi
ven
in th
e sh
ort-
term
less
on p
lans
to m
axim
ise
teac
her
choi
ce.
Lesson 13+